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Pitch peaks tend to be higher at the beginning of longer than shorter sentences (e.g., ‘A farmer is pulling donkeys’ vs ‘A farmer is pulling a donkey and goat’), whereas pitch valleys at the ends of sentences are rather constant for a given speaker. These data seem to imply that speakers avoid dropping their voice pitch too low by planning the height of sentence-initial pitch peaks prior to speaking. However, the length effect on sentence-initial pitch peaks appears to vary across different types of sentences, speakers and languages. Therefore, the notion that speakers plan sentence intonation in advance due to the limitations in low voice pitch leaves part of the data unexplained. Consequently, this study suggests a complementary cognitive account of length-dependent pitch scaling. In particular, it proposes that the sentence-initial pitch raise in long sentences is related to high demands on mental resources during the early stages of sentence planning. To tap into the cognitive underpinnings of planning sentence intonation, this study adopts the methodology of recording eye movements during a picture description task, as the eye movements are the established approximation of the real-time planning processes. Measures of voice pitch (Fundamental Frequency) and incrementality (eye movements) are used to examine the relationship between (verbal) working memory (WM), incrementality of sentence planning and the height of sentence-initial pitch peaks.
We tested the hypothesis that phonosemantic iconicity––i.e., a motivated resonance of sound and meaning––might not only be found on the level of individual words or entire texts, but also in word combinations such that the meaning of a target word is iconically expressed, or highlighted, in the phonetic properties of its immediate verbal context. To this end, we extracted single lines from German poems that all include a word designating high or low dominance, such as large or small, strong or weak, etc. Based on insights from previous studies, we expected to find more vowels with a relatively short distance between the first two formants (low formant dispersion) in the immediate context of words expressing high physical or social dominance than in the context of words expressing low dominance. Our findings support this hypothesis, suggesting that neighboring words can form iconic dyads in which the meaning of one word is sound-iconically reflected in the phonetic properties of adjacent words. The construct of a contiguity-based phono-semantic iconicity opens many venues for future research well beyond lines extracted from poems.
Research on the music-language interface has extensively investigated similarities and differences of poetic and musical meter, but largely disregarded melody. Using a measure of melodic structure in music––autocorrelations of sound sequences consisting of discrete pitch and duration values––, we show that individual poems feature distinct and text-driven pitch and duration contours, just like songs and other pieces of music. We conceptualize these recurrent melodic contours as an additional, hitherto unnoticed dimension of parallelistic patterning. Poetic speech melodies are higher order units beyond the level of individual syntactic phrases, and also beyond the levels of individual sentences and verse lines. Importantly, auto-correlation scores for pitch and duration recurrences across stanzas are predictive of how melodious naive listeners perceive the respective poems to be, and how likely these poems were to be set to music by professional composers. Experimentally removing classical parallelistic features characteristic of prototypical poems (rhyme, meter, and others) led to decreased autocorrelation scores of pitches, independent of spoken renditions, along with reduced ratings for perceived melodiousness. This suggests that the higher order parallelistic feature of poetic melody strongly interacts with the other parallelistic patterns of poems. Our discovery of a genuine poetic speech melody has great potential for deepening the understanding of the music-language interface.
The concept of sound iconicity implies that phonemes are intrinsically associated with non-acoustic phenomena, such as emotional expression, object size or shape, or other perceptual features. In this respect, sound iconicity is related to other forms of cross-modal associations in which stimuli from different sensory modalities are associated with each other due to the implicitly perceived correspondence of their primal features. One prominent example is the association between vowels, categorized according to their place of articulation, and size, with back vowels being associated with bigness and front vowels with smallness. However, to date the relative influence of perceptual and conceptual cognitive processing on this association is not clear. To bridge this gap, three experiments were conducted in which associations between nonsense words and pictures of animals or emotional body postures were tested. In these experiments participants had to infer the relation between visual stimuli and the notion of size from the content of the pictures, while directly perceivable features did not support–or even contradicted–the predicted association. Results show that implicit associations between articulatory-acoustic characteristics of phonemes and pictures are mainly influenced by semantic features, i.e., the content of a picture, whereas the influence of perceivable features, i.e., size or shape, is overridden. This suggests that abstract semantic concepts can function as an interface between different sensory modalities, facilitating cross-modal associations.